The Battle for the Arts
A Battle in Print by Colin Lawson, director, Royal College of Music
Mozart’s 250th anniversary year is a fitting time to reflect on the role of the arts and artists in today’s society. But if we compare the circumstances of his career with the professional profile of today’s artists, we must take pains to disaggregate myth from reality.
As Ulrich Konrad has recently observed, usage of words such as ‘creative’ in connection with the production of musical works of art betrays in itself a tendency to mythologise. The portrayal of composers as creators or musical artists in a categorical sense is really a feature of the modern era; Mozart does not indicate anywhere that he regards himself as a genius or creator, whilst recognising that he has genius, a superior talent for making music. In reality, Mozart’s pragmatism is evident in many facets of his professional life. He remarked that an opera aria must fit the singer like a well-tailored suit of clothes. He would write new arias to match cast changes in his opera productions, when they moved, for example, from
Mozart’s own career in
In recent years a considerable amount of research has been conducted into Mozart’s overall position in the marketplace. His domicile in
During his last year, Mozart continued to purchase luxuries that lay well beyond the purse of most Viennese, including capon, sturgeon, coffee, sugar and fine tobacco. Notwithstanding the liabilities of Mozart’s estate, his clothing alone was valued at an amount probably greater than the total assets of at least half the population. Furthermore, he still owned a great deal of expensive furniture. As more than one recent scholar has observed, Mozart was less a victim of poor money management than of a system of musical patronage in radical transition. The innumerable Kapellen that had been employed before the mid-1770s were disbanded over the next 25 years as the aristocracy in smaller courts opted increasingly for a variety of musical entertainment. One effect of Mozart’s freelance position was that he continued to compose prolifically even through the ill-health that dogged his last year.
Much of the reality of Mozart’s compositional life is only now beginning to emerge. But it is clear that his principal focus was on addressing specific situations, such as commissions, concerts and dedications. At the same time he contrived to produce a stream of sublime music that manifestly continues to resonate with today’s tastes and needs.
date created:28/6/2006 14:04:47
last updated:27/9/2006 16:08:32